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Matteo Zaccolini (12 April 1574 – 13 July 1630) was an Italian painter, priest and author of the late Mannerism and early Baroque periods. He was a mathematical theorist on perspective. He is also called "Zacolini" and "Zocolino".Bell, Janis C. "Zaccolini, Matteo." Grove Art Online. Oxford Art Online. Oxford University Press, accessed 6 April 2014.
Zaccolini collaborated with Baldassare Croce with the quadratura frescoes in the church of Santa Susanna, where he painted the trompe-l'œil columns. In collaboration with Giuseppe Agellio and Cristoforo Roncalli, The Spectacle of Clouds, 1439–1650: Italian Art and Theatre, by Dr Alessandra Buccheri, page 117. he painted in San Silvestro al Quirinale. In 1603, upon completion of the decoration of the choir at San Silvestro, Zaccolini was apprenticed as a Theatines lay brother at that church. Two years later he took his Religious vows. From then on, he worked solely in Theatine projects, in Naples and Rome. He died on 12 April 1574 in the Theatine house of San Silvestro al Monte Cavallo, now San Silvestro al Quirinale in Rome.
Zaccolini is best known for a four-volume treatise on perspective (1618–22), of which the only surviving copy is in Florence (Bib. Medicea–Laurenziana, MS. Ash. 1212): De colori treats the Color theory; Prospettiva del colore discusses practice, emphasizing the use of hue and value gradients to create the illusion of depth; Prospettiva lineale presents perspective projection and measurement; and Della descrittione dell’ombre prodotte da corpi opachi rettilinei explains the projection of cast shadows. These works, while not in general circulation, gained him renown among eclectic circles in Rome. In 1666, the historian and fellow Theatine Giuseppe Silos described Zaccolini as one of the "Geniuses of our order and most admirable men of his age". Bellori described him as a master of perspective and optics, and as having instructed Domenichino, Gagliardi, Circignani, and Giuseppe Cesari among others. Cassiano dal Pozzo disseminated his ideas in Rome, and Nicolas Poussin took a copy of his treatise to France.
Zaccolini was a fervent admirer of Leonardo da Vinci.Hall, M. B., & Cooper, T. E. (2013). The sensuous in the Counter-Reformation church. New York: Cambridge University Press. p. 255. According to Zaccolini's early biographer Cassiano dal Pozzo, the earliest version of the manuscript was written in mirror-script which, like the manuscript's content, revealed the influence of the writings of Leonardo.Bell, Janis C. "Zaccolini and Leonardo's Manuscript A", Retrieved 6 April 2014. Zaccolini's emphasis on the importance of scientific knowledge in the imitation of nature encouraged the development of a rationalist approach associated with classicism in 17th-century art.
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